Making the Mix with Matty Amendola – Part 5 of 5: Vocals

So we’ll start right here with the Mellotron and the vocal for this transition between the last chorus.

[mellotron and vocals]

Which is pretty much the vibe of what we went for here. Very simple, hardly any verb at all, not much compression, because we used it going in. On the vocal, I’m using a plate that’s kind of small, actually. I’m not sending much to it.

So we have a few sets of background vocals here, and by a few I mean twelve, for whoever can count the number of those quicker than me.

I’m doing a trick here, which is basically I call it “The Beach Boys Trick.” It’s a trick I learned from Mark Hudson. It’s basically doubling the double. So every harmony gets a hard left and hard right four times.

So we have the one of the interval here, two, three, four, and then depending on what the harmony is that we’re singing, we have — you know, either the third or the fourth or the fifth of the harmony, one, two, three, four, and then probably the third, one, two, three, four.

[vocal harmonies]

So CLA Effects, which is one of my favorite plug-ins, it should be used in a subtle way. We’re not using it so subtle here. We’re increasing the exciter on here, the very, very top end, which sounds to me like it’s maybe above 10kHz and beyond. We’re boosting that a little bit, and we’re using their hall verb, which who knows the algorithm they came up with for that, but it’s pretty colored and pretty dirty, but it gave the oohs and the aahs a nice gritty feel instead of sounding like an angel going “aah.”

Which is what Brit thought they’d sound like, and she fought me a little bit when we did this until she kind of heard the way I was hearing them. This is how they came out. A little bit larger than life, and here it is with the lead vocal.


Alright, so let’s kind of go through the whole tune, and I’ll kind of solo things as we go along, and take things out, and see this whole thing that I just showed you pieced together, and what it ended up feeling like, and how it’s moving and pushing, and how we’re utilizing that analog and digital thing very much. There’s a lot of plug-ins on the track, but everything going in is also done the right way, the right mics, the right placement the right pres, the right chain.

So yeah, here it is.


So that’s Milk and Honey by Kerchief. I hope you learned some little tips and tricks on how I went about making this record, and I hope you check it out on further,, or, and stay tuned for the record, which is something I’m very proud to be a part of.

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